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08406_Field_TCGG T171.txt
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1996-04-10
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Gombrich not only has all the most relevant information
about the rise of the pictorial mode; he has all the right
difficulties. He ends his Art and Illusion by commenting (pp.
117­18):
There is finally the history of Greek painting as we can
follow it in painted pottery, which tells of the discovery of
foreshortening and the conquest of space early in the
fifth century and of light in the fourth. . . . Emanuel Loewy
at the turn of the century first developed his theories
about the rendering of nature in Greek art that stressed
the priority of conceptual modes and their gradual
adjustment to natural appearances. . . . But in itself it
explains very little. For why was it that this process
started comparatively so late in the history of mankind?
In this respect our perspective has very much changed. To